Behold, another bit of music. Behold, nothing particularly new. Behold, some fairly snappy album art, if nothing else. This is Supermetricity, the latest in a bunch of increasingly tedious attempts at progressive something-or-other.
Enjoy, if that's your thing. If it's not, then don't. Unless not doing your thing is your thing, in which case aren't you just a riddle wrapped up in an enigma wrapped up in some kind of strudel.
So, yeah. I didn't really make anything for FAWM this year, either. I made stuff, but it wasn't for FAWM. Here it is, anyway. It's much of the same. Enjoy. Or don't. If you do (or don't), feel free to let me know why. (Or don't. Y'know. I'm easy like that.)
Here's a couple of Garageband tracks, largely wedged in the centre of the uninspired progressive genre.
Take 'em or leave 'em. Don't judge me. Be nice to people. Tip your waiter. I'm here until Thursday. Take my wife, please.
Here's another track to go with the four in the previous post. This one is more of the usual material, some airy nonsense with fake piano and guitar sprinkled on it. A lengthy piano outtro is never a bad thing, though.
If you have an opinion about any of these musical bits and pieces, please post it below. I'd appreciate any feedback, if only so I can decide whether it's worth continuing to toss this stuff in the internet's general direction.
I wanted to participate in FAWM this year, and I gave it a shot, but ultimately I just ended up with a heap of unfinished junk. So, as you do, I've polished the junk up, and now it's called Præteriit, and it's on Soundcloud polluting the ears of random internet passersby. You can listen to all four tracks below, if you feel so inclined.
What you get for your money, ultimately, is something pretty similar to everything I've done before, with loads of pads, too much piano, considerable overuse of the Dsus2 chord, and fairly repetitive chord structures.
There's nothing wrong with being your own worst critic. You should try it some time!
Some more original music, such as it is. The title is a nice quantum physics reference that has absolutely no relevant bearing on the music, but hey -- it may have no bearing on reality, either. That's the nature of quantum physics. It's bullshit you can believe in!
The track is mostly guitar and piano, none of which is real. (Maybe that's the link to quantum physics, right there.) It has a few moments I'm pretty happy with, particularly the chord change at around 2:20, and the overall feel. Sometimes things just work. Sometimes they don't. I'm usually pretty happy any time I can come up with something that doesn't orbit ineffectually around Dsus2 and G minor. It's the little things.
Album art provided above and to the right a bit, should you wish to jam this into iTunes or something. It's better than a grey box with a symbol in it. Just. Besides, everything's better with an album cover.
The Gargantuan Gimmick Of Glerty McGlee the gargantuan gimmick of glerty mcglee was the most gregarious gimmick you’re likely to see it featured a graceful and garrolous trot akin to a gander atop something hot
for no one could garner the gardener’s gauge or to stand near the gambler’s gelatinous stage the fire in the gantry and gables and gear was to a lonely traveller’s gangrenous ear
like a gallow dry squeaking and gale blowing near to the hollows of gordon, who glerty would fear like a grinding and garbling grand fascination with loosing the geese from a lone trepidation
glowing like nonsense and frosting the glazing the fire grew ardent while quietly raising the brow of the guard stood outside of the cordon of forest defining the hollows of gordon
named for the grumpy and godfearing son of a man who fell grey from the din of the gun which was fired not in anger but only to mimic the incoming outcome of glerty’s own gimmick
a gimmick so bold and in golden raised lettering printed in blood and a generous smattering of apology rife with the grim innuendo inherent to something implying the end of
a story so guarded and gilded with tripe told by guards and by gamblers and into the night resolving to garner the ears of the masses to tattle to fellows and titter to lasses
to speak unto god and to blame him our future is to open a wound and to bury the suture the tale told before this and many times after is ought to provoke some to tears, to provoke some to laughter
take from this a lesson in garbled fine prose disguised as the thorns from a withering rose the gibberish mentioned to be interpreted free as was stated the will of young glerty mcglee